Paddy Jaminji (circa 1912-1996) Untitled (Men's Ceremonial Ground, Springvale), 1984
Lot 137
Paddy Jaminji (circa 1912-1996) Untitled (Men's Ceremonial Ground, Springvale), 1984
Sold for AU$ 30,500 (US$ 28,342) inc. premium
Lot Details
Paddy Jaminji (circa 1912-1996)
Untitled (Men's Ceremonial Ground, Springvale), 1984
natural earth pigments and bush gum on canvas
94.5 x 180.5 cm (37 3/16 x 71 1/16in).

Footnotes

  • PROVENANCE:
    Painted at Warmun, Turkey Creek, Western Australia
    Purchased from Mary Macha, Perth in May 1994
    The Laverty Collection, Sydney

    EXHIBITED:
    Mapping our Countries, Djamu Gallery, Australian Museum at Customs House, Circular Quay, Sydney, 8 October 1999 - 27 March 2000
    True Stories: Art of the East Kimberley, Art Gallery of New South Wales, Sydney, 11 January - 27 April 2003

    LITERATURE:
    Colin Laverty and Elizabeth Laverty et al., Beyond Sacred: Recent Painting from Australia's Remote Aboriginal Communities - the collection of Colin and Elizabeth Laverty, Melbourne: Hardie Grant Books, 2008, pp.210-211 (illus.)
    Colin Laverty and Elizabeth Laverty et al., Beyond Sacred: Australian Aboriginal Art - the collection of Colin and Elizabeth Laverty, Edition II, Melbourne: Kleimeyer Industries, 2011, pp.222-3 (illus.)

    Paddy Jaminji was the original painter of the panels
    carried in the Kurirr Kurirr ceremony, and with his kin
    nephew Rover Thomas, he was the prime instigator
    of a modern painting movement that emerged in the
    eastern Kimberley in the wake of Cyclone Tracy. His
    role is clearly stated in his own words, recollected by
    Kim Akerman as the title to his essay on the artist in the
    catalogue of Jaminji's survey exhibition at the Holmes à
    Court Gallery in Perth in 2004: '"I Bin Paint'im First":
    Paddy Jaminji - Trailblazing Artist of the Warmun
    School of Aboriginal Art.'

    The Kurirr Kurirr is about Cyclone Tracy and the
    destruction of Darwin on Christmas Eve, 1974, by
    Wungurr the ancestral Rainbow Serpent. Over the
    following months, the ceremony had been revealed
    to Rover Thomas by the spirit of a woman who had
    died from injuries incurred in a car accident caused by
    the flooding waters of the cyclone. The woman was
    Jaminji's kin sister and Thomas' aunt; hence Jaminji
    was in the correct complementary kin relationship to
    execute the paintings, as is customary. The first Kurirr
    Kurirr ceremonies occurred in the late 1970s and were
    performed to Aboriginal and non-Aboriginal audiences
    alike as a statement of cultural survival after years of
    social disruption for Aboriginal people in the Kimberley.

    The first paintings made for sale at Warmun were
    usually connected to the Kurirr Kurirr, but in time
    artists began to paint unrelated subjects. Jaminji was
    particularly intent of preserving Gija culture and
    ancestral knowledge through his art. Painted in 1984,
    Untitled (Men's ceremonial ground, Springvale) is among the
    artist's earliest works that feature a subject unconnected
    to the Kurirr Kurirr, as are several other paintings
    made in the same year in the collection of the National
    Gallery of Australia (see Caruana, W. (ed), Windows on
    the Dreaming: Aboriginal Paintings in the Australian National
    Gallery
    , Canberra: Australian National Gallery, and
    Sydney: Ellsyd Press, 1989, plates 100-3, pp.173-5).

    Jaminji's work has been included in several major
    exhibitions in Australia and abroad, including: Recent
    Aboriginal Art of Western Australia and Aboriginal Art: The
    Continuing Tradition
    at the National Gallery of Australia
    in 1987 and 1989 respectively; Images of Power, Aboriginal
    Art of the Kimberley
    , at the National Gallery of Victoria
    in 1993; ARATJARA, Art of the First Australians, at the
    Kunstsammlung Nordrhein-Westfalen, Dusseldorf,
    Hayward Gallery, London, and the Louisiana Museum,
    Humlebaek, Denmark in 1993-4; and Power of the Land,
    Masterpieces of Aboriginal Art
    , at the National Gallery of
    Victoria in 1994.

    Wally Caruana
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